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Hélio Oiticica (Portuguese: [ˈεlju ɔjtʃiˈsikɐ]; July 26, 1937 – March 22, 1980) was a Brazilian visual artist, sculptor, painter, performance artist, and theorist, best known for his participation in the Neo-Concrete Movement, for his innovative use of color, and for what he later termed "environmental art", which included Parangolés and Penetrables, like the famous Tropicália.[1] Oiticica was also a filmmaker and writer.[2][3]

Hélio Oiticica
Hélio Oiticica (1966)
Born(1937-07-26)July 26, 1937
Rio de Janeiro, Brazil
DiedMarch 22, 1980(1980-03-22) (aged 42)
Rio de Janeiro, Brazil
NationalityBrazilian
Other namesPassista
EducationMuseum of Modern Art, Rio de Janeiro
OccupationVisual artist
Sculptor
Painter
Performance artist
Theorist
Filmmaker
Writer
Years active1954-1980
WorksMetaesquemas
Bilaterals
Spatial Reliefs
Inventions
Bólides
Parangolés
Penetrables
Tropicália
Eden
MovementNeo-Concrete Movement
RelativesJosé Oiticica (grandfather)
Bólides, Hélio Oiticica (1963-1969)
Bólides, Hélio Oiticica (1963-1969)
A exposição Hélio Oiticica – Museu é o Mundo (21 de dezembro 2010), no Museu Nacional Honestino Guimarães, em Brasília
A exposição Hélio Oiticica – Museu é o Mundo (21 de dezembro 2010), no Museu Nacional Honestino Guimarães, em Brasília
Bólides, Hélio Oiticica (1963-1969)
Bólides, Hélio Oiticica (1963-1969)
Brumadinho - Inhotim, Hélio Oiticica
Brumadinho - Inhotim, Hélio Oiticica
Spatial Relief (red) REL 036, Tate Liverpool
Spatial Relief (red) REL 036, Tate Liverpool

Early life and education


Oiticica was born in Rio de Janeiro, Brazil to mother Ângela Santos Oiticica and father José Oiticica Filho. He had two younger brothers, architect César Oiticica, and Cláudio Oiticica.[4]

Oiticica's family was educated and involved in liberal politics. His father taught mathematics, was an engineer, entomologist, and lepidopterologist, a scientist who researched butterflies. He was also an avid photographer, creating experimental photographs that were new to Brazil. His grandfather was a well known philologist, who studied literary texts and written records, and published an anarchist newspaper called Ação Direta [Direct Action].[2][4]

Oiticica and his brothers were taught at home until their father got a fellowship at the Guggenheim Foundation.[5] During this time, from 1947 to 1949, the family lived in Washington, D.C. while their father worked at the National Museum of Natural History. Oiticica and his brothers attended Thomson Elementary School. The family returned to Brazil in 1950.[6][7]

Oiticica enrolled in art school at the age of 16 years.[2]

Starting in 1954, Oiticica attended courses at Museum of Modern Art, Rio de Janeiro, studying under Ivan Serpa. In 1955, he joined Grupo Frente.[2]


Career



Early career


Oiticica's early works, in the mid-1950s, were greatly influenced by European modern art movements, principally Concrete art and De Stijl. He was a member of Grupo Frente, founded by Ivan Serpa, under whom he had studied painting. His early paintings used a palette of strong, bright primary and secondary colours and geometric shapes influenced by artists such as Piet Mondrian, Paul Klee and Kazimir Malevich. Oiticica's painting quickly gave way to a much warmer and more subtle palette of oranges, yellows, reds and browns which he maintained, with some exceptions, for the rest of his life.

In 1959, he became involved in the short-lived but influential Neo-Concrete Movement. The Neo-Concrete Movement rejected the objective nature of Concrete Art and sought to use phenomenology to create art that "expresses complex human realities." This was stated in the manifesto written by Amílcar de Castro, Ferreira Gullar, Franz Weissmann, Lygia Clark, Lygia Pape, Reynaldo Jardim, Theon Spanudis and published in Rio de Janeiro in March 1959 called Manifesto neoconcreto.[8]: 442–443 

Neo-Concretism focused creating an awareness within the spectator of their spatial relationship with the artwork. The artworks themselves became akin to living organism rather than static forms; they were made to interact with viewers.[9]: 100–105 

During Oiticica’s Neo-Concrete period, he sought to “escape the constraints of painting while remaining in dialogue with it” by utilizing color in new ways. He painted monochromes entitled Invencoes (Inventions) in 1959. These small square wooden plaques (30 x 30 cm) were not made to represent light rather Oiticica sought to embody it. Oiticica questioned traditional ideas of aesthetics and art practices by considering the spectator and ideas of real space in his work.[10]

The group disbanded in 1961. Clark and Oiticica transitioned into conceptual art dealing with ideas of the human body and culture. Oiticica was specifically interested in what creates culture.

Color became a key subject of Oiticica's work and he experimented with paintings and hanging wooden sculptures with subtle (sometimes barely perceptible) differences in colour within or between the sections. The hanging sculptures gradually grew in scale and later works consisted on many hanging sections forming the overall work, as a spatial development of his first experiments with painting.


International recognition and later work


In the 1960s, he produced a series of small box shaped interactive sculptures called Bólides (fireballs) which had panels and doors which viewers could move and explore. Throughout the 1960s and 1970s he made installations called Penetráveis (penetrables) which viewers could step into and interact with. The most influential of these was Tropicália (1967) which gave its name to the Tropicalismo movement. He also created works called Parangolés which consisted layers of fabric, plastic and matting intended to be worn like costumes but experienced as mobile sculptures. The first parangolés experiences were made together with dancers from the Mangueira Samba school, where Oiticica was also a participant.

In the 1970s, Oiticica increasingly devoted himself to writing and frequently corresponded with several important intellectuals, artists and writers both in Brazil and abroad, including Haroldo de Campos, Augusto de Campos, Silviano Santiago and Waly Salomão.

In 1965 he participated in the exhibition “Soundings two” at Signals gallery London, with Josef Albers, Brancusi, Lygia Clark, and Marcel Duchamp among others.

In 1969 he produced an individual exhibition at Whitechapel Art Gallery, London, curated by Guy Brett. Oiticica named the exhibition the “Whitechapel experience”.[11]

In 1970 he participated in the exhibition "Information" at the Museum of Modern Art in New York City.

After living in the East Village neighborhood of New York City, Oiticica had issues with immigration, which led to his return to Rio de Janeiro, where he died.[2][3]


Tropicalismo Movement


The Tropicalismo Movement was a creative and artistic movement that began in Brazil towards the end of the 1960s. Oiticica played a huge role in defining the movement. The Movement emphasized music and art meant to celebrate Brazilian culture and identity.[12] It was also a protest to the oppressive military government that severely limited artistic freedom of expression. Hélio Oiticica first coined the word “Tropicala” in the title of an artwork exhibited in Rio de Janeiro in 1967. Oiticica used the word to create irony around the stereotypes of Brazil as a tropical paradise.[13] Once Brazilian musician Caetano Veloso used “Tropicala” for a song title in 1968, the Tropicalismo movement took form. Oiticica’s exhibit was a pop-up structure meant to look like favelas or slums.[14] They were surrounded by palm trees, chairs fake vines and sand. Viewers of the exhibit were encouraged to walk in and around it as freely as they chose. It was meant to inspire free expression and oppose the political climate at the time.[15]


Living in New York


Oiticica moved to New York in 1970 after he was awarded a two-year Guggenheim Fellowship in Rio. The fellowship was connected to his participation with the Museum of Modern Art’s exhibition of Conceptual art, “Information.”[16]

When Oiticica first arrived in New York, he planned to create an installation in Central Park of his penetrable: interactive paintings and sculptures first installed in Brazil.  He envisioned bringing a piece of Brazil to Manhattan. The project was ultimately unsuccessful as he was unable to secure proper funding.[17]

Despite the setbacks with the Central Park project, Oiticica published art in other ways. He took art classes at New York University and experimented with film photographs.[18] One example of his published film is a set of photographs where he gives colorful capes (made from recyclable materials), called parangolés, to unsuspecting passengers on the NYC subway. The subway riders would examine the parangolés and Oiticica would photgraph them trying it on. In a different film series, Oiticica photographs a young man standing in a parangolé on the rooftops NYC buildings.[19]

His most compulsive New York art project was his East side apartment. Oiticica, who was gay, felt a sense of sexual freedom and liberation in the city. He would host parties, often with rock music and drugs, and invite men to be photographed intimately.[20]  

Oiticica severely overstayed his two-year fellowship, remaining in New York for almost eight years. In that time, he faced difficulties finding connections in the art world to promote his work or resources to live in the city.[21] It was also suspected he became slightly home sick. Facing disparity, Oiticica turned to drug dealing when he was unable to find consistent jobs. [22]


Move Back to Brazil


In 1978, Oiticica returned to Rio de Janeiro where he was berated by Immigration officials for overstaying his visa. According to his lawyer, Oiticica was also questioned about his homosexuality.[23]


Fire


On October 17, 2009, a fire destroyed an undetermined amount of the works by Oiticica. The collection was held at the residence of his brother César Oiticica in the neighborhood of Jardim Botânico, Rio de Janeiro. In addition to paintings and the famous Parangolés, the artist's archive of material included drawings, notes, documentaries and books, which were stored in the collection.[24][25] The fire took three hours to bring under control. Key works such as Bólides and Parangolés, including some shown at the 2007 Tate retrospective, were damaged. The cause of the fire is unknown. The building was equipped with fire alarms and other safety systems.[26] Jandira Feghali, Secretary of Culture in Rio de Janeiro, called for an investigation into the causes of the fire and whether any works can be recovered.[27] The works were stored in César Oiticica's house following a dispute over money and the adequacy of storage facilities at the Centro Municipal de Arte Hélio Oiticica.[28] The works were uninsured. A project of restoration is in development with the ministry of culture in Brazil.[29]


Personal life


Oiticica died in 1980 of a stroke as a result of hypertension.

Oiticica was openly gay.[2][3]


Awards



Exhibitions



Group exhibitions



Solo exhibitions



Selected works



Works and publications



See also



References


  1. Davis, Ben (11 July 2017). "How to Understand Hélio Oiticica's Journey From Art Visionary to Coke Dealer and Back Again | artnet News". artnet News.
  2. Cotter, Holland (13 July 2017). "Cool Heat: An Art Outlaw Who Still Simmers". The New York Times.
  3. Schjeldahl, Peter (31 July 2017). "Discovering the Brilliance of Hélio Oiticica". The New Yorker.
  4. Figueiredo, Ariane. "Hélio Oiticica: 1930s". Projeto Hélio Oiticica.
  5. "José Oiticica Filho, Guggenheim Fellow in Biology & Ecology, 1947, 1949 – Organismic Biology & Ecology: Latin America & Caribbean". John Simon Guggenheim Foundation. 1947.
  6. Figueiredo, Ariane. "Hélio Oiticica: 1940s". Projeto Hélio Oiticica.
  7. Figueiredo, Ariane. "Hélio Oiticica: 1950s". Projeto Hélio Oiticica.
  8. Suárez, Osbel; García, María Amalia (2011). Witschey, Erica; Fundación Juan March (eds.). Cold America: Geometric Abstraction in Latin América (1934–1973) (Exhibition catalog). Translated by Agnew, Michael. Madrid: Fundación Juan March. ISBN 978-84-7075-588-0. OCLC 707460289.  Wikidata ()
  9. Brett, Guy (1993). "Lygia Clark and Hélio Oiticica". In Rasmussen, Waldo; Bercht, Fatima; Ferrer, Elizabeth (eds.). Latin American Artists of the Twentieth Century (Exhibition catalog). New York: The Museum of Modern Art. ISBN 978-0-870-70424-6. OCLC 735320789.
  10. Amor, Monica (January 2010). "From Work to Frame, In Between, and Beyond: Lygia Clark and Hélio Oiticica, 1959–1964". Grey Room. 38: 20–37. doi:10.1162/grey.2010.1.38.20. S2CID 57560607. 
  11. Oiticica, Hélio (1969). Helio Oiticica (Exhibition catalog). London: Whitechapel Gallery. ISBN 978-0-854-88001-0. OCLC 25209.
  12. Tate. "The story of Hélio Oiticica and the Tropicália movement". Tate. Retrieved 2022-09-22.
  13. Tate. "The story of Hélio Oiticica and the Tropicália movement". Tate. Retrieved 2022-09-22.
  14. Tate. "The story of Hélio Oiticica and the Tropicália movement". Tate. Retrieved 2022-09-22.
  15. Tate. "The story of Hélio Oiticica and the Tropicália movement". Tate. Retrieved 2022-09-22.
  16. Almino, Elisa Wouk (2017-09-06). "Hélio Oiticica in New York". The Paris Review. Retrieved 2022-09-21.
  17. Almino, Elisa Wouk (2017-09-06). "Hélio Oiticica in New York". The Paris Review. Retrieved 2022-09-21.
  18. Almino, Elisa Wouk (2017-09-06). "Hélio Oiticica in New York". The Paris Review. Retrieved 2022-09-21.
  19. Almino, Elisa Wouk (2017-09-06). "Hélio Oiticica in New York". The Paris Review. Retrieved 2022-09-21.
  20. Almino, Elisa Wouk (2017-09-06). "Hélio Oiticica in New York". The Paris Review. Retrieved 2022-09-21.
  21. Almino, Elisa Wouk (2017-09-06). "Hélio Oiticica in New York". The Paris Review. Retrieved 2022-09-21.
  22. Davis, Ben (2017-07-11). "How to Understand Hélio Oiticica's Journey From Art Visionary to Coke Dealer and Back Again". Artnet News. Retrieved 2022-09-21.
  23. Almino, Elisa Wouk (2017-09-06). "Hélio Oiticica in New York". The Paris Review. Retrieved 2022-09-21.
  24. "Notícias: Incêndio destrói acervo do artista plástico Hélio Oiticica". Grupo Globo (in Brazilian Portuguese). 17 October 2009.
  25. Valota, Ricardo (17 October 2009). "Fogo destrói obras de Hélio Oiticica no Rio de Janeiro - Geral - Estadão". Estadão (in Brazilian Portuguese).
  26. Lima, Flavia (17 October 2009). "Incêndio destrói obras do artista plástico Hélio Oiticica". O Globo (in Brazilian Portuguese).
  27. "Incêndio que consumiu obras de Oiticica provoca debate sobre conservação e guarda de acervos". Zero Hora (in Brazilian Portuguese). 19 October 2009.
  28. "Obras de Hélio Oiticica destruídas em incêndio eram motivo de impasse entre família e ..." O Globo (in Brazilian Portuguese). 17 October 2009.
  29. Fradkin, Eduardo (17 October 2009). "Parte das obras de Hélio Oiticica destruídas em incêndio pode ser recuperada". O Globo (in Brazilian Portuguese).
  30. "Hélio Oiticica, 1970 – Fine Arts: Latin America & Caribbean; Painting, Sculpture, & Installation Art". John Simon Guggenheim Foundation. 1970.
  31. Carvajal, Rina; Ruiz, Alma; Carvaja, Rina; Rolnik, Suely; Sánchez, Osvaldo; David, Catherine; Salzstein, Sónia (1999). Martin, Susan; Ruiz, Alma (eds.). The Experimental Exercise of Freedom: Lygia Clark, Gego, Mathias Goeritz, Hélio Oiticica, Mira Schendel (Exhibition catalog). Los Angeles: Museum of Contemporary Art. ISBN 978-0-914-35764-3. OCLC 606278433.
  32. "Tropicália. Die 60s in Brasilien (28 January 2010-5 February 2010)". Kunsthalle Wien (in German). January 28, 2010.
  33. Gottschaller, Pia; Le Blanc, Aleca (2017). Gottschaller, Pia; Le Blanc, Aleca; Gilbert, Zanna; Learner, Tom; Perchuk, Andrew (eds.). Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros (Exhibition catalog). Los Angeles: Getty Conservation Institute and Getty Research Institute / Getty Publications. ISBN 978-1-606-06529-7. OCLC 982373712.  Wikidata ()
  34. "Hélio Oiticica (2/10/1992 - 8/12/1992)". Fundació Antoni Tàpies. 1992.
  35. Oiticica, Hélio; Brett, Guy; Figueiredo, Luciano; Valentin, Andreas (1992). Hélio Oiticica (Exhibition catalog) (in English and Dutch). Translated by Berg, Stephen. Photography by Bardin, Desdémone. Barcelona: Fundació Antoni Tàpies. ISBN 978-8-460-41862-7. OCLC 959094859.
  36. "Hélio Oiticica: The Body of Colour – Exhibition at Tate Modern". Tate Modern. 6 June 2007.
  37. Smith, Roberta (17 March 2007). "Hélio Oiticica: The Body of Color - Art - Review". The New York Times.
  38. "El cuerpo del color/ The Body of Color - Literal Magazine" (PDF). Literal Magazine. 8 April 2012.
  39. Searle, Adrian (7 June 2007). "And it was all yellow". The Guardian.
  40. Pifer, Jenelle (26 September 2016). "Organizing Delirium: Inside the World of Hélio Oiticica". Carnegie Museum of Art.
  41. Heyman, Stephen (29 October 2016). "The Brazilian Genius Who Pioneered Installation Art Is Finally Getting His Due". Vogue.
  42. "Hélio Oiticica: To Organize Delirium (February 18, 2017–May 7, 2017)". The Art Institute of Chicago. 18 February 2017.
  43. Waxman, Lori (26 April 2017). "Helio Oiticica's show is sensory overload, in all the best ways". Chicago Tribune.
  44. "Hélio Oiticica: To Organize Delirium". Whitney Museum of American Art. 14 July 2017.

Further reading




Wikimedia Commons has media related to Hélio Oiticica.

На других языках

[de] Hélio Oiticica

Hélio Oiticica (* 26. Juli 1937 in Rio de Janeiro; † 22. März 1980 ebenda) war ein brasilianischer Künstler. Ende der 1960er Jahre begründete Oiticica die Tropicália-Bewegung mit.
- [en] Hélio Oiticica

[es] Hélio Oiticica

Hélio Oiticica (Río de Janeiro, 26 de julio de 1937 - Ib., 22 de marzo de 1980) fue uno de los artistas plásticos brasileños más innovadores del siglo XX y actualmente es reconocido como una figura clave en el desarrollo del arte contemporáneo.[1] Es conocido por su participación en el movimiento neoconcreto de Río de Janeiro y por ser una de las inspiraciones del tropicalismo, por su uso radical del color y sus experimentaciones con el "arte ambiental" en las que diluye la frontera entre el arte y la vida y entre la obra y el espectador.

[fr] Hélio Oiticica

Hélio Oiticica, né à Rio de Janeiro (Brésil) le 26 juillet 1937 et mort dans cette ville le 22 mars 1980, est un artiste plasticien et théoricien brésilien, à la fois sculpteur, peintre, performeur, cinéaste et écrivain.

[ru] Ойтисика, Элио

Элио Ойтисика (порт. Hélio Oiticica; 26 июля 1937, Рио-де-Жанейро — 22 марта 1980, там же) — бразильский художник-абстракционист, представитель неоконкретного искусства и бразильского культурного движения тропикалия.


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